bharatanatyam Mudras

Mudras

Hastàbhinaya (Hah-stah-bin-a-yah) = Hand Gestures

Hand gestures are used for a variety of reasons, they may be used to mime the meaning of the song, or they may be simple aestetic ornamentation. Some have very limited meanings, and some are used as catch-alls for miming a variety of ideas. The Natya Shastra lists the following mudras, along with their most prominent meanings. Many others have been developed in the time since, whose histories are harder to trace. In the cases where an idea is being conveyed, it is more important to communicate clearly with hand gestures - adapting them if necessary - than it is to perform them with rigid correctness.

Different schools and styles of dance use different hand gestures and different terms for the same hand gestures. Most have a fairly similar set of terms that largely overlap with this list, but many may be different in the details. It is largely a case of individual style, and so long as everyone can communicate it matters very little what terms are used. The goal of this class and handout are to note the hand gestures that are most likely to have been used in history.

This particular list is based on my experience Aparna Sindhoor's dance instruction and the study of several translations of the Natya Shastram a translation of the Abhinaya Darpana of Nandiksvara and a study of the Nrtyavinoda of Manasollasa - three period dance texts.

The Natya Shastra is a medieval dance text believed to possibly be written as early as 800AD. It is the earliest known dance text, and generally has formed a basis for most subsequent treastises. It was designed to cover all aspects of medieval dramaturgy - dance, music, acting, costumes, stage construction and many other theatrical techniques. As the first known text on dance, it has strongly influenced all the subsequent literature through history, as well as the modern classical dance forms currently active in India.

The Abhinaya Darpana,ascribed to the sage Nandikesvara, is theorized to have been written sometime between the 5th and 13th centuries. Where the Natya Shastra studies all the diverse aspects of theater and dance, including expression, costumes, dance movements, theater construction, and music, the Abinaya Darpana studies only abhinaya or theatrical expression - including facial movements, and hand gestures.

The Nrtyavinoda of Manasollasa is particularly interesting to me, as it is was composed in my region of interest - Karnataka. It is a section of a medieval encyclopedic text called the Manasollasa or Abhilasitarthacintamani, ascribed ot King Somesvara III. The treastise has been dated to 1131 AD. It covers all aspects of dance - dance movements, poses, and expressive gestures (abhinaya) of the hand, face and head. It's particularly interesting in the fact that the movements noted here are significantly different from the Natya Shastra, although the abhinaya information shows a great similarity.

Asa§yuta = "non-combined", single hand gestures

These are single hand gestures because they can be used on one hand independantly from the other. The may also be combined with the same gesture on the same hand, or two different gestures on each hand, as the situation merits.

Name(Pronounciation)
Notes

Natya Shastra Notess and Meanings

Picture

Abhinaya Darpana of Nadikesvara

Ntryavinoda of Manasollasa

Patàka
(Pah-tah-kah)

Most basic position, arms often held to the side in pataka in practice

= arrow shaft face
Text describes the hand position as "in the same hand (as ardhapataka), the forefinger and little finger are out spread". The plates provided by the author show a relaxed tripataka position. Given the context, I prefer the image shown with this position.
separation of woman and man, opposition or overturning, stealing, the corner of the eye, death, disagreement, lightning, sleeping alone, falling, a creeper

Ardhacandra
(Ard-hah-chan-drah)
This is the position held when hands are resting behind the back during modern practice

crescent moon, young trees, pot, woman's girdle or waist

= half moon
the moon on the eigth day of the dark fortnight, a hand seizing the throat, a spear, consecrating an image, a platter, origin, waist, anxiety, one's self, meditation, prayer, touching the limbs, greeting common people

ringing of bells, pressing or rubbing the body, throwing a spike or a javelin, holding a rope or reins

Kapittha
(Cap-pik-tah)

suggests weapons

= elephant apple
Lakshmi, Sarasvati, winding, holding cymbals, milking cows, collyrium, holding flowers at the time of dalliance, grasping the end of the robe, veiling the head with the ancala, offering incense or lights, etc.

= opening in a linkThis is described as looking more like the picture shown in this column. However, the translator suggests a position that looks like a relaxed Kappittha.
picking flowers, holding a pearl necklace or garland of flowers, drawing a bow slowly, distributing folded betel leaves, applying such things as musk or scent, speech, glancing

holding an umbrella, fly whisk, weapons or mirror, grasping the hair and the noose

worship of a god, showering of flowers, some fruits and a woman's breasts

= lotus bud
fruit, wood-apple, elephant-apple, etc., breast, curve, ball of flowers, light food, bud, mango, rain of flowers, cluster of flowers, the japa flower, the shape of a bell, the hole of a snake, a water-lily, an egg

taking the kapittha orbilva fruit, showing the hand to children, a downcast face

SarpasÑrùaka

giving water, movement of snake's head

= snake head
sandal-paste, snake, slowness, sprinkling, cherishing, etc., giving water to gods and sages, the flapping of elephant's ears, massage of wrestlers

calledAhiphaõa

pouring, drinking or offering of holy water

facing downwards - waving movement, dwarves

facing upwards - blessing, appeasing, movements of snakes

MçgasÑrùa
(Mru-gah-shir-shah)

the concepts of "here", "now", wiping perspiration

= deer head
women, cheek, traditional manners, fear, discussion, costume of an actor, place of residence, tete-a-tete, drawing three lines on the brow, patterns on the ground, massage of the feet, combining, house, holding an umbrella, stair, placing the feet, calling the beloved, roaming

= swan-feather
the number six, constructing a bridge, making marks with the nails, arranging

applying color to the face, tying up the hair, accepting

Sadumsho
(Sah-dum-show)

taking out a thorn or picking delicate flowers

brushing collyrium to the eyes

when pearls are pierced

= grasping
Alternating between mukula (below) and patmakosa (above) as defined by this text. This is consistent with the modern usage.
generosity, sacrificial offerings, tumour, insect, apprehension, worship, the number five

"Svastika literally, means crossed, many hand-positions can be svastika.

if separated from the position, represents directions of clouds, the firmament, jungles, oceans, the earth and other vast things as well.

= crossed
crocodile, timid speech, dispute, praising

listening intently to musical notes, sky, objects which are high up and expansive

Katakavardhamanaka
(Kah-tah-ka,vah-dhi-mah-nah-ka)

kataka = name of single hand mudra

wooing a lady, or bowing down to a venerable person

= link of increase
coronation, ritual, marriage blessing
written as katakavardhana, described as kataka hands crossed, so if the book is consistent, refer to kataka hands in the column above, which are slightly different.

decorating the stage, making garlands, speaking the truth

Kartarã-svastika
(Car-tar-E-sva-sti-ka)

kartari = name of single hand mudra

svastika = crossed

Not mentioned in the Natya Shastra

= crossed arrow-shafts
trees, the boughs of tress, the summit of a hill

Utsanga
(oot-saan-gah)

main use - feeling of touch

also for anything with excessive effort, acts of anger and indignation, women's envious acts and squeexing of something.

- or -

= embrace
embrace, modesty, armlet, education of children
describes only the lower (crossed) picture, with hands in mrgasirsa (thumbs out)

Hands moved from picture #2 to picture #1. Hands are held in tripataka

Latà

Hands in tripataka, and fingers are rotated (hand circles)

Karihasta

Swinging outward hand from side to side, like the trunk of an elephant

Similar position, suggests the outward hand is also rotated in hand circles (recita)

Pakùava¤citaka

Does not specify which hand is up.

Hands in tripataka, on upper part of hips

Pakùapradyotaka

Pretty much, just the reverse of the previous pose, not specific as to which hand goes where. Sources differ. It may also be

The hands in Tripataka Hasta are turned up and placed on the waist

Garuóapakùa

Again, which hand where is not described.

The hands in Tripataka Hasta are facing downwards and extended obliquely, with elbows slightly bent.

Danóapakùa

One of several movements involving Haüsapakùa hand position. Possibly...
-to-
Possibly alternating one hand side, one hand front, as though one was twirling a staff around the body. Possibly twirling only the fingers in circles. Texts are unclear and disagree.

Like this:
With thumbs over hands (hamsapaksa), hands are rotated.

Urdhvomanóalã

"Circling movement near upper part of body" it's rather uncertain what that actually means.

Called Urdhvamaõóalina, probably a difference in pronounciation of same word.
The hands are moved round (in Vyàvartita and Parivartita - see below) over head.

Uromoõóali

"One hand is to be raised up after the circling movements and the other is to be kept hanging down. Some movements are to tkae place near the breast." Again - rather unclear on what exactly should be done.

Not mentioned in this text

Pàr÷vamaõóalina

Not mentioned in this text.

The hands in Arala Hasta are moved round (in Vyàvartita andParivartita - see below).

Vakù‘maõóalina

Not mentioned in this text.

Hand circles in front of chest.

Uraþpàrãvàrdhamanóala

- and -
"Are moved by turns above the breast and on the sides" - possibly alternating the two gestures, while moving the hand about, possibly rotating the hand while holding it in the general vicinity.

Similar definition. In this text, arala (the left picture) is quite different, see above (single hand gestures).

Muùñikasvastika

In both hands with wrist circles

Similar definition in this text

Nalinã Padmako÷a

Starting in this position, rotating wrist with the pinkie finger leading the fingers into and away from the palm.

hands in picture to the left are "shanken and moved round from the knees to the head".

Alapallava

Fingers and wrist roll outwards into

Not mentioned in this text

Ulbaõà

Not mentioned in this text

Hands in:
are "stretched upwards and moved round.

Lalita

Not mentioned in this text

Valita

Hands are "crossed at elbows". Does not specify direction - up, down, forward...

Not mentioned in this text

Hasta Kriyà

According to Natya Shastra, they are called Karaõas = "Four classes of hand gestures", four ways of moving the hand gestures. All happen simultaneously while rotating the wrist. In the Nrtyavinoda, they are called Hasta Kriyà, and described as the action which has to be carried out by the hand in order to make a gestures. The names and definitions are the same in both texts.

âveùñita

leading with the index finger curl fingers into palm

Udveùñita

leading with the index finger stretch fingers outwards

Vyàvartita

leading with the pinkie finger curl fingers into palm

Parivartita

leading with the pinkie finger stretch fingers outwards

Bibliography and Source Notes

Aparna Sindhoor - teacher of Mysore Style Bharata Natyam, a modern classical dance form, generally originating from Southern India, and loosely inspired by nadir, the traditional dance of the devadasis, aka temple dancers/servants, from the late 19th century. The first two sections (single and double hand gestures) were largely inspired by Aparna. She was the original teacher for all terms and positions, except for Katakavardhamanaka, Nisadha, and Vardhamana. All pronounciations are based on her teaching, although the pronouciation guide is my interpretation. Aparna teaches in Somerville, MA, and the Dance Complex in Cambridge, MA. More information on her current work is available at www.navarasa.org.

Nàñya÷àstra, English Translation with Cricital Notes by Adya Rangacharya, published by Munshiram Manoharlal Publishers Pvt. Ltd. in New Delhi, in 1996. This commentary was used for name spelling, description of hand positions and meanings for the first series of gestures (single hand gestures). As it does not list definitions for the other sections, it could not be consulted.

Nàñya øàstra of Bharatamuni, translated into English by a Board of Scholars. Published by Sri Satguru Publications in Delhi in 2000. This translation was used for the basis for the second and third sections. The names, positions, and meanings of the hand gestures originates from this text. It was also used as a cross reference point for the first section - it largely agreed with Rangadcharya's work.

Tàõóava Lakùaõam or the Fundamentals of Ancient Hindu Dancing, by B.V. Narayanaswami Naidu, P. Srinivasulu Naidu, O.V. Rangayya Pantulu. Published by Munshiram Manoharlal Publishers Pvt. Ltd. in New Delhi, in 1936. Used to get further information on the third section, primarily. Had many suspicious differences in definitions of first two sections, and was not entirely in agreement with the Board Translation on Section 3. Generally the differing interpretations were presented side by side.

The Mirror of Gesture: Being the Abhinaya Darpaõa of Nandike÷vara by Ananda Coomaraswamy. Published by Munshiram Manoharlal, Pvt. Ltd. in New Delhi in 1997. All the notes in the "Abhinaya Darpana" section come from this text. It's a translation with critical notes of an ancient dance text by the sage Nandikesvara. The author makes quite a bit of his own commentary without referencing sources, which is rather frustrating, but the pictures in the back and the actual translation are quite good.

The Nçtyavin‘da of Mànas‘llàsa: A Study by Hema Govindarajam. Published by Harman Publishing House in New Delhi in 2001. Quite esoteric, but also fabulous. It's a comparative study between the Nrtyavindoa, the dance component of an encyclopedic text from 1131 A.D. in Karnataka, and two other leading dance texts - the Natya Shastra and the Sangita Ratnakara (written in the early 13th century). The odd thing is there is a marked discrepancy between its interpretation of the Natya Shastra and my translations.

These are just the main sources for this class. If you want to know more about the history of Indian dance, it's place in Indian society in history, or developing a devadasi persona, contact me privately... I love to gab about this stuff, but I won't stick in that many sources here!

Internet Resources

In my opinion, the Internet dance information has a long way to go compared to print books - particularly on the history end. It is growing rapidly, though, and improvement in the number and depth of resources out there has grown a hundredfold in the approxiamately three years I've been out there surfing for this stuff... Still, Internet sites are only as good as the people that write them, so you have an equal chance of hitting history and fantasy - so always weigh your sources. The sites below are pages I've dug up that specifically do a good job with hand gestures in Indian dance or the history of Indian dance, particularly Bharata Natyam. They should all be assumed to be modern - they all reference dance styles practiced modernly, generally all of which were firmly codified in the last 200 years...

http://kpoursine.web.wesleyan.edu/bhhist.htm - Kay Poursine's website. Kay Poursine is a well-known dancer in the states, one of the first famous Caucasian dancers I'd ever heard of and also one of the first with a great Interent site. Her stuff is right on target.

http://www.nadanam.com/bharatnatyam - a refreshingly honest and well-researched account of the roots of Bharata Natyam, as well as an excellent discussion of various components of dance. For hand gestures, check out - http://www.nadanam.com/bharatnatyam/b_abhinaya.htm and all the links that end with the word "hasta".

http://www.kanakasabha.com/hastas/index.html - This time, hand gestures with pictures. I see a typo - ardhapataka and kartarimukha look like the same gesture, and I've never seen that before, also Kartarisvastika doesn't look right... so I'm a little suspicious, but generally this is a really slick site.